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Singing Lessons : Singing Lessons: Vibrato Speed

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In singing lessons, the speed of the vibrato varies depending on the singer and the desired effect. Fluctuate vibrate speed with tips from a professional singer in this free video on vocal technique.

Expert: Jeanette Herrera
Bio: Jeanette Herrera has been doing hair for more than 20 years, and she loves to use her hands.
Filmmaker: joseph wilkins

I am a vocal teacher and know what I’m talking about. Contact me if interested and in the NYC or Nassau County (long island) area….
I haven’t seen ONE good voice lesson or tip on the internet except for Brett Manning…and even he isn’t safe to learn from because he’s working with people that already have the basics down….

video is 46 sec. but theres a certin woman singing a high b and she has to hold it for 12 long sec with vibrato…and i would like to learn how to sing it like she does..please take a look and you will be able to hear her…because she very loud..please help me i would like to figure out how to sing this high and hold the note this long all in one breathe like this woman does! thanks please get back to me!

VIBRATO CANNOT BE CREATED, DEVELOPED, OR PRODUCED. It is the result of varying neural impulses to a set of muscles outside of the larynx. Throat tension masks the effect of the impulses. Learn to release the throat area and the vibrato will come through; it’s always there. Any attempt to control vibrato can result in vocal damage. What she demonstrates at the beginning is called tremolo (she doesn’t even know the proper terms) and is not vibrato, nor related to it, physiological speaking.

@TheMrAlwaysRight Vibrato and tremolo are not similar, save that they are both pitch variants. Tremolo is created by over-tensing the crico-thyroid muscle to an extraordinary degree; vibrato occurs when the same muscles are activated, period. The neural impulses to those muscle are omni-present whenever the voice is activated. Only with the proper, released activation will the effect of those impulses come through as vibrato in the folds, the crico-thyroids controlling the amount of stretch.

@TheMrAlwaysRight …and further, a straightened tone is created by a number of ill-chosen muscular actions. Most often by over-tensing the crico-thyroid muscles. That means strain; thereby, an action that can lead to vocal damage. And no, I am not confused in my choice of words. Vibrato cannot be produced. Those impulses create the pitch alterations in the voice–through release + proper laryngeal suspension–known as vibrato. We can only get out of their way and let the v. come through.

@TheMrAlwaysRight Using your own words, you defeat your argument. Vocal strain is by definition damaging, as is any strain on the folds (or cords, both are appropriate). No, the “very usage of any muscle” does not imply “strain.” In the study of physiology, you will find that muscles need to be between 100 and 120% of resting length (tone) to work to maximal efficiency. Thereby usage in this range does not imply strain. Above that, yes, damaging. To what extent will depend on the singer.

@TheMrAlwaysRight Straight-tone is defined as an excessive muscular action of the folds and/ or the cricothyroids and all other suspensory muscles. As the charge of the voice teacher is not dissimilar to that of a physician–“Do no harm”–telling someone that one can get away with a damaging effect is unethical. Also, a relaxed vocal tract is antithetical to the actions that are occuring, one cannot be relaxed and sing correctly, just as one cannot strain and sing correctly.

@TheMrAlwaysRight Any damage is damage!!!!!! If you’re a teacher get the hell out of the business before you hurt others. If you are a singer, then you’re an unmitigated fool. There is never a benefit to using a straightened tone. Good technique never includes any factor that holds inherent damage. Young singers must be taught correct technique before they attempt any stylistic tom-foolery for the sake of style.

@TheMrAlwaysRight Garcia on the word “Production”: ‘Voice-production?’ he would say. ‘There is no such thing as voice-production. Voice-emission, yes. You can emit your voice, but how can you produce it? Can you take it in your hand and say, “There it is: look at it! admire it! Is it not a beautiful voice?” Non! Can you pour it out like molten lead into the sand so that your friends can gaze on it? Non! You cannot produce your voice.’

@DoctorofVoice Garcia, yet again (2 or more parts) I show pupils how to sing, and the proper way to study. Suppose someone meets me out of doors and says, “Can you tell me the way to Hampstead Heath?” I answer, “I will walk there with you.” We set out, and I keep by his side, saying, “This is the street we have to pass through. Do not turn down there: that goes in the wrong direction. Follow my instruction and you will arrive at your destination. I know the road well.”

@DoctorofVoice Part 3: Again, if we come to a very steep hill, and he says, “I can’t climb that—it is too difficult. Let us not go up—I am tired;” I can only reply, “If you wish to reach the Heath, you must climb it. There is no other way of getting to your destination.” But if he is lazy, and will not mount it by his own endeavour, I cannot lift him and carry him upon my shoulders.’

@TheMrAlwaysRight You do love to display your ignorance and poor reasoning abilities, don’t you. Comparing the slim benefits of running and then comparing that to heart benefits? Yet there is no such comparison in the vocal world. Stress is different than strain. No doctor recommends any form of exercise to such a degree. The “no pain, no gain” philosophy was disproven years ago. As many deaths occurred, in even the most experienced of runners, doctors rarely recommend it these days.

@TheMrAlwaysRight You just don’t get it, do you? You can never produce a straighten-tone without excessive muscular activity. Such is never the goal of vocal instruction and demonstrates poor technique, period. There is no room for argument.

I do hope those of you reading these comments see how many fools there are out there attempting to perpetuate myths of poor technique in the name of style in an attempt to fill their pocketbooks and drain yours!

@TheMrAlwaysRight Once again, a display of ignorance. The voice, properly started, is self-enervating. That means an impulse from the brain alone is necessary to start the sound. No breath is required. Air is only used in a healthy technique to keep the process going at a particular volume level and is applied only after the correct onset has separated the folds the first time through mental release. Airflow is one word, not two. Do change your handle to TheMrAlwaysWrong.

@TheMrAlwaysRight Sorry about the lack of -ed on the end of straightened-tone.
However, onward. No. Breathing (entire process), or more accurately, inhalation is never required, straight or free. In fact, teachers often ask their students to exhale completely and then begin a tone to demonstrate that little air is required to continue the tone, i.e., no push of air is necessary. Air pressure changes occur passively as the folds open and close for each vibration; pitch regulated by the “ear.”

@TheMrAlwaysRight As usual, wrong again. Air pressure doesn’t cause closure during vibration. That was disproven way back in 1960! Get with the research! See Raoul Husson, La Voix Chantee, Article XXV on, pp. 31-36. Muscular rebound does that by a factor of 20-1! Again, excessive tension in the cricothyroids and the other muscles of laryngeal suspension causes a straight-tone to occur. Finally, no airflow, no tone, period! But air is only a regulator of pitch and volume, not a motivator.

@TheMrAlwaysRight Well, not really, but you’re getting closer to fact. Closure is not a conscious act, as your words imply. A drop in air pressure does occur during the open phase (Venturi effect), but closure stops the flow. It is the build up of pressure beneath the folds that causes them to open again, not a Venturi effect. The entire process of initial release of the folds at the direction of the mind, muscular rebound, and finally sub-glottal pressure creates vibrations.

@TheMrAlwaysRight To the contrary, they do damage their voices, I’ve had to do many a recovery job under such strains. While they may do it and survive for a number of years with such vocal abuse, the limit appears to be, from much experience, about fifteen years. Note the demise of M. Jackson, Maria Carey, Whitney Houston, and many others when they attempted such abuse as part of their acts. You offer nothing to show that singers may have had to go under long periods of vocal rest to recover.